Talking with Lwando Magwaca
LM: My name is Lwando Magwaca. I graduated 2016. From 2014, 2015, 2016 - so I had three-years intensive programme training with Magnet Theatre.
Tegan Arazny (TA) : AND WHAT HAVE YOU DONE SINCE YOU...
Carmel O’Sullivan et al: Teaching Artists Working in Inclusive Schools and Educational Settings
There is a long history of artists working in schools dating back to the 1950s, and Rabkin et al. (2011) claim that artists brought ‘a new kind of approach’ and ‘arts pedagogy’ into schools,...
Linda Hassall: Politics of Distance: Psychological Landscapes. Contemporary Identity in Australian Gothic Drama
The politics of distance has informed the psychological landscape of Australian cultural identity since settlement and colonisation. Australian Gothic drama explores the psychology of distance through socio cultural themes associated with identity, race and...
Voices in Dialogue: Peter O’Connor
There was so much in the way of stimulating learning and idea-sharing at the 9th International Drama in Education Research Institute (IDIERI 9) in Auckland last year (2018) that it was impossible...
Can the Norwegian Model Inspire a New Direction for the Future of Presenting Professional...
Scenekunstbruket is the largest nationwide provider of Performing Arts for Young Audiences in Norway and is a competence centre for distribution and dissemination of Theatre for Young Audiences. Through their network (in...
Sensory Performance Practice Part Two: Establishing A Safe Space
Whilst I hadn't been able to attend Part One of Dalijia Acin Thelander's and Ellie Griffiths' symposium, “Sensorial Practices in Performing Arts for Babies and Neuro-diverse Audiences - A Critical Perspective”, I...
The Hope and Future of Theatre for Young People
Theatre is more important than ever. Dr Ekua Ekumah, the Keynote Speaker for Tuesday’s opening address of the ITYARN (International Theatre for Young Audiences Research Network) Conference, began by speaking of the importance of staging Theatre...
Lights, Camera, Action: Lighting and Colours in Theatre for Young Audiences
The following series of photographs highlight the unique use of stage lighting in two performances of Theatre for Babies.
Soro et le grain de maïs magique (trans. Soro and the magic grain), directed by Déborah...
Transformative Theatre
The South African production, The Underground Library (written by Jon Keevy and directed by Koleka Putuma), was a strong and exciting ensemble piece with an action-packed narrative that kept me on the edge of my...
Drama & Maths Education: Crossing the River
The Cradle of Creativity’s Focus Day on Theatre as Education saw an interactive, energetic and embodied Maths lesson take place in the afternoon.
Professor Kennedy Chinyowa (Tshwane University of Technology, South Africa) and Selloane Mokuku...